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This study aims to explain the reservations about the popular TV series Adit Sopo Jarwo, whose plots are considered simplistic. Specifically, the questions raised here are: 1) how does didacticism manifest in Adit Sopo Jarwo and 2) what serves as the background forsuch didacticism. I reviewed the theory of didacticism in children’s literature and theories related to the phenomena of post-secularism and post-islamism. The object of this study includesten episodes of Adit Sopo Jarwo. The objects were analyzed in two stages. In the first stage, I analyzed the themes of the objects of study. Then, the pattern obtained from the first stage was discussed with regards to the social and historical backgrounds of the objects. The study resulted in the discovery of the monolithic tendency in the didactic pattern of Adit Sopo Jarwo, which in this case manifests in the presence of Haji Udin as the dominant source of wisdom. It can be interpreted here that Islam is the dominant source of wisdom despite the fact that the characters are diverse in terms of religion. With regards to the social background, this monolithic tendency can be interpreted further as being in line with the phenomena of post-islamism, especially with the notion of exclusivist but tolerant Islam, in which there is an exclusivist tendency in terms of theology but sociologically tolerant.

The village of Kucur has a lot of potentials that can be improved further as a source of local income. Such potentials include the water park of Lembah Gunung Sari, the coffee-based products from Koperasi Kopi RTM, and the currently popular hiking and camping spot called Bukit Jabal. However, so far, the marketing of these potentials has been done minimally and in an unorganized manner. Therefore, the community service team will provide a workshop for the creative team of Kucur village, with the three groups mentioned above being the partners, to better promote their potential. To do this, the community service team simplified the basic principles in copywriting, namely the principles of Feature-Advantage-Benefit, Problem-Agitation-Solution (PAS), and audience identification in branding, conducted workshops to introduce the simplified principles and explore their own potential, created an Instagram account, and provided mentoring through WhatsApp groups. These activities took place between May and November in Kucur village. Based on the efforts made, the community service team found that the creative team now knows that they need to start exploring the advantages and benefits of their respective products and their target market before they can promote them to the public.

Assia Djebbar’s Children of the New World and Sahar Khalifeh’s Wild Thorns seem to be involved in a parallel fights. However, it is not immediately clear their attitude in the fight. To answer this question, I employed Bakhtin's concept of dialogue and multi-voicedness (carnivalesque) to understand the novels' meaning and the role of ideology in cultural artifacts. Jameson's political unconscious, particularly the second horizon (social) is utilized to analyze what the novels potentially respond to. The descriptive comparative method is employed to examine the distinct features and themes of each work. From the data analysis, I discovered that there is indeed a parallel in the resistances waged by both novel. In Wild Thorns, the theme of dead ends and desperate actions faced by Palestinians is explored, encompassing economic, gender, and resistance-related struggles. The novel highlights the need for radical societal transformation. In Children of the New World, the shift from domestic to public relationships during the Algerian war of independence is depicted. The novel emphasizes steadfastness, confrontation, and departure as forms of resistance, urging a break from limiting domestic bonds. In the final analysis, the paper argues that both novels offer unique perspectives on resistance and challenge conventional narratives. They demand a reevaluation of various aspects of resistance and advocate for comprehensive societal change.

Faith is a vital element in the works of Nobel laureate Alexander Solzhenitsyn, a Russian writer who experienced the notorious Gulag and difficultly in a strongly atheistic country. However, faith is never a simplistic topic for Solzhenitsyn, especially writing in a time when religion was officially shoved aside from the public discourse. In the light of a set of views on religion inferred from Terry Eagleton’s essay, this paper aims to explain the anomalous religiosity as seen in the narrators of Solzhenitsyn’s novel One Day in the Life of Ivan Denisovich and short story “Matryona’s House.” According to the Eagleton’s model, there are three stages of religiosity, namely, 1) omission of religion’s otherworldly and pure ritualistic elements, 2) acceptance of mentally-empowering potentials of religion, and 3) internalization of the humanistic values of religion. The analysis concludes with a notion that One Day in the Life of Ivan Denisovich and “Matryona’s House” represent an evolution of faith that has gone through a period of challenge. On a sidenote, the analysis also confirms the dialogic nature of Solzhenitsyn’s works, in which one topic is presented through contradictory voices.